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LIBRARY OF CONGRESS 



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TT 197 
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Copy 1 



HANDMADE 
FURNITURE 

AND 

HOW TO MAKE IT 



Designed for the use of those seeking either 
a pleasant and profitable occupation or snch 
furniture for their homes as shall express 
their own artistic taste, and stand for sturdy 
• lonesty of purpose, simple beauty, comfort 
.iiul dural)ility. 



All)ert G. Glidden 



HAND MADE FURNITURE SHOP, 
Spokane, Wash. 



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Copy writed 1910 

by 
A. G. Glidden. 



©CI.A265327 



GENERAL. 



There is probably no home in which the comfort, con- 
venience or artistic appearance conld not be improved by th'^ 
addition or replacing of some pieces of furniture. The reason 
is simple. They are furnished with store furniture, and store 
furniture is made to sell; the designs limited by the capabilities 
of the machines which make it ; made of the cheapest materials; 
put together in the quickest, rather than the best way. and then 
finished up with the crudest varnish and stain to make a fine 
appearance. It is a depressino' sight to see this furniture on 
moving day. piled on the sidewalk, scratched, broken, dingy, 
all its fine pretense of beauty gone forever. On the other hand, 
the chairs, tables, sideboards and other pieces that have como 
down to us through generations Avere all made by hand, put 
together by hand and finished by hand in the days when there 
was no machinery and the workman was an artist. The result 
is that instead of finding its way to the scrap l^eap this old 
furniture is as good today as ever, after two or three hundred 
years of wear and tear and removal from place to place half 
round the world. Hampered by no limitations of machinery 
these designers set the standard for the world for all times. 
Such furniture is Avorth while, and is an everlasting inspiration 
to the home-maker and worker. 

Our new style, variously known as "Arts and Crafts," 
"Mission." "Craftsman," etc., is especially adapted to hand 
work, and \vhile differing from the rich old oak and mahoganv 
of our fathers' in form and finish, is like them in all the quali- 
ties of beauty and durability and is far more comfortable. A 
home furnished in this style not only expresses the artistic 
taste of its inmates but also exerts an influence of sturdv 
honesty of purpose, simplicity and absence of all gaudy pre- 
tense, which both its frank, straight lines and freedom from 
anything to hide or mar the natural beauty of the wood so 
forcibly express. It is a style of which we can never tire and 
of which no other can take the place. It will last for gener- 
ations, for ever}^ part is as strong as tlie wood of which it is 
made. You can make it and make it better than you cnn buv 
in any store, for it is*made in the most natural way, after tlie 
most natural design, of the most natural material. 

Of course, it cannot be hoped that the mere reading of 
any book can make an expert cabinet maker of an inexperi- 
enced workman, but the instructions contained in this book will 
enable any one to make furniture. Handsome, comfortable, 
durable furniture. The length of time recpiired on each of tlie 



exercises will, of course, vary with the individual workman 
and his aptitude for the work. All that can he said as to the 
mmiber of times the exercises should he performed is simply 
to keep at each one until you are satisfied with the results. 
Yon can judg'C as well as any one when your work is good. 
Time spent in practice is time well spent, for you are learning 
to make something which will be with you for years to come. 
Most people knoM^ more or less about the use of tools and 
to some it will seem that we are unnecessarily explicit about 
things which to them are matters of course, but as w^e are 
writing for those who have had no experience whatever m 
the use of tools, as well as others, we have begun with the 
rudiments and taken one after another in the order most likely 
to assure rapid progress. For the same reason we have 
avoided, in so far as possible, technical terms and trade names, 
thougli in some cases it has been necessary to use the cus- 
tomary terms, as no others will express the meaning. For 
instance, the use of the word "sipiare," as applied to our work, 
does not always mean rectangular but oftener means at right 
angles to adjoining surfaces. Thus, when we say "saw square" 
or "plane square" we mean to make your surface straight and 
true and at right angles with some other surface. The term 
"right angles" will ho easily understood by reference to Fig. 
1. Whenever two lines meet thev form an angle, and leaving 




llie direction of one line and the degree of the angle we know 
llie direction of the other line. Tims iir Fig. 1 all the lines 
meet at (a). Taking the line (a-b) as our base and wishing 
to find any other line of which Ave have the degree of angle 
w(» draw a circle around (a). The size of the circle does not 
make any difference. A circle is divided into 360 degrees, 
therefore, if we are given an angle of 90 degrees, we know 
1hat it is a quarter of the circle and drawing a line from (a^l 



to the outer rim of the circle a quarter of the way around Ave 
have the line (a-c) which forms an angle of 90 degrees with 
the line (a-b). In the same way an angle of 30 degrees would 
])e formed by a line drawn from (a) to the outer rim of the 
circle l-12th of the way round from (b) (a-d). Forty-five 
degrees would be l-8th of the way round (a-e), oO degrees 
l-6th of the way round (a-f), 180 degrees half way round, and 
so on. The angle of 90 degrees is spoken of as a right angle 
and in our work one line of the angle is said to be square to 
the other. We also use the term in speaking of angles 1 in 6. 
or 2 in 6, etc. You will understand this if you will take your 
steel square and place your rule diagonally across it and when, 
for instance, we say 1 in 6 we would- mean to place your rule 6 
in. from the corner of the square on one arm and 1 in. from 
the corner on the other arm of the square; 2 in 6 would mean 
keep the rule at 6 in. on one arm and move the other end of 
the rule 2 in. from the corner on the other arm. In other words, 
an ansle may be said to give the degree of slant. 

We have included in this book a few designs for pieces of 
furniture in order to show the method of assembling the parts 
and the most convenient way of laying out and beginning a 
piece of work. In this connection we wish to impress upon 
you the importance of laying out the Avhole of a piece of work 
before you begin to cut it at all. You will appreciate this as 
you proceed. 

In our cuts we have made no attempt at fine drawing but 
have used the fewest possible lines for the sake of plainness 
and only so much shading as is necessary. Single lines usually 
designate the outline of solid parts. Dotted lines show the 
outlines of parts lying beneath the surface, or in other words, 
as if seen through the object, and are used merely to show the 
location of parts which would really be invisible. Wavy lines 
are generally used where only a part of a piece is shown and 
designate that the piece is really longer than drawn but the 
part beyond the wavy line is not necessary in the illustration. 
We have used shading to show end grain in some cases but 
more often to show where a part is cut away, as in the side of 
a tenon, etc. Dimensions are shown by arrow pointed lines. 
Where these lines point in opposite directions with the figures 
between them, or point toward each other with the figures at 
the end of one arrow, they give the distance in both cases 
between the arrow points. 

The choice of wood depends largely on the purpose for 
which it is to be used and personal taste. You will probably 
have no occasion to use other woods than fir, oak and 



mahogany, with possibly some pine. Fir is soft and likely to 
splinter if not carefully handled, bnt is easy to work, the grain 
is wavy and beautiful and it can be finished to equal oak in 
beauty. Oak is harder but m.)re durable and admits of a very 
high polish. It is much stronger and therefore, except where 
proportion requires size, the parts can be made much 'imaller 
than when using fir. As, for instance, in chair and table legs, 
braces, etc. Oak also bends l)etter than fir but it is necessary 
to steam it for this purpose and unless you have proper steam 
box and clamps to hold it until dry, we do not advise attempt- 
ing to bend the parts. Mahogany has been the most liighly 
prized of these three woods until recently, and is th(^ most 
expensive, but oak has largely taken its place in fine furniture 
of this style, as it is more in keeping with the straight lines. 
Pine is soft, light and not so likely to splinter as fir, hut has 
little grain and is not used extensively except in concealed 
parts where strength is not essential. In most lumber, and 
especially that with much flake or grain, you will find that 
the grain does not lay flat on the surface, but comes up to the 
surface at an angle and in planing it is important to cut in 
the direction of this grain, not against it, as in the latter case 
it will chip up and leave nicks in the surface instead of cutting 
smooth. In using the scraper on fir you have to be careful 
or it will cut deeper in the soft grain of the wood than on the 
flake, and make a wavy surface instead of a fiat one. This, 
however, can be avoided with a little care. 

We trust that with these suggestions the following may 
be quite clear to you. but if there is any point on which you 
are not quite clear, or if there is any advice you would like 
we would be very glad to hear from you and to assist you in 
any way that our experience will permit. 



Chapter I. 



TOOLS. 

Kight here and now we want to say. keep your tools sharp. 
Many beginners are discouraged with the residt of their Avork 
when the fault is entirely with the dullness of their tools. A 
dull tool cannot do good work no matter how skillful the 
workman may be. Therefore, we say again, keep all tools 
sharp all the time. With this in mind, let us see what tools 
are necessary for our purpose and how to sharpen, use and 
care for them. 

THE SAW. 

The saw comes first in use and perhaps in importance. 
There are several kinds, but you will need only one 24-inch 
rip saw, about 7 tooth (to an inch) for sawing with the grain; 
one 20-inch cross-cut saw, 10 tooth, for sawing across the 
grain; one 12-ineh back saw. 12 tooth, for sawing a perfectly 
straight, narrow smooth cut (kerf) ; one 12-inch compass saw, 
8 tooth, for sawing curves. 

These saws are sharpened when you buy them and we do 
not advise you to attempt to file your saws until you have 
learned by practice how to do it properly. Have them sharp- 
ened by an expert, for while it is very simple it requires skill, 
acquired only from experience. Do not neglect it, however. 
A dull saw leaves a ragged edge and take double effort. 

If you desire to file your saws get an old one to practice on. 
It is not a difficult thing to learn, and while opinions differ as to 
just how the work should be done there are a few essentials 
which must be observed. The following is the result of long 
experience and careful study and will give satisfactory results : 

You will need to purchase a saw vise (one with rubber in 
the jaws will prevent noise), also a slim 7-inch taper file for 
7 and 8 tooth saws, 5-inch slim taper file for 10 and 12 tooth, 
and a fairly long, flat mill file for jointing; a saw set of any 
of the standard patterns, and then proceed as follows: Fasten 
the saw vise to something steady, clamp the saw in it, teeth up, 
take the steel square, or other straight edge and hold it with 
the edge along the teeth of the saw. If the teeth do not all 
just touch the edge of the square they are not of equal length 
and require what is called "jointing." To do this take the 



flat mill file and lay it flat along the points of the teeth, filing 
as if to dull them until they are all equal in length, which you 
test with the square as before. The next step is to "sot" the 
saw. This consists in bending the points of alternate teeth to 
right and left. This is done with the saw set. Have the sales- 
man show you how to operate whatever kind you buy. The 
teeth should he bent only just enough to clear, do not set too 
deep, only the point should be bent, or half the tooth at most; 
set the tooth toward the side on which the point is; this will be 
every other tooth one way and alternate ones the othc^ way; 
set one side first, then the other side. Your saw is now ready 
for filing. Select the size of file given above for the particular 
saw, commence at the butt (handh^ end) with the first tooth 
set away from you and file every alternate tooth. Keep the 
file level, that is, the handle and point at the same height 
when the saw is straight up on edge. You will notice that the 
teeth of your Cross-cut, Back and Compass saws are filed on 
an angle. This angle is entirely at the discretion of the owner. 
It is essential, however, that the bevel be filed on the front of 
the tooth. It Avill give very satisfactory results if you make 
it about 45 degrees. Keep the angle precisely the same on all 
the teeth. When you have filed the teeth on one side turn 
the saw arouiul and file those on the other side. As to the shape 
of the teeth there is much difference of opinion, but until you 
have some reason to change keep it the same as whr-n you 
bought the saw. Now take the saw out of the vise, lay it on 
a flat board and rub the sides of the teeth wnth the oil stone 
until they are perfectly even. To file the Rip saw proceed 
as above, except file straight across, not at an angle. File 
e\cfy tooth exactly the same size and shape and your saw 
will i-nn true and easy. 

THE USE OF THE SAW. 

The use of the saw is constant and important. Saw true 
always, whether the results make any difference or not. 
In this Avay you will train your eye and hand. Do not saw 
without a mark. Use a hard pencil so as to make a narrow 
line. In all cases when joining mark with a knife or markins 
awl. Remember that nearly always the sa\ved edge will have 
to be smoothed with the plane, and allow for this in such cases. 
Start your saw by a few short strokes, as it is likely to "jump" 
if you use too long a stroke before the cut is started. As soon 
as it is started use a full stroke. Do not saw in little jerks, but 
be careful not to pnll the saw all the way out of the cut. as this 
will mar your work and may break the saw. Your Rip saw 



and your Cross-cut saw should be held at an angle of aI)out 
45 degrees. With the Compass saw. you will generally have 
to hold it straight through the board in order to foUow the 
curve. The Back saw is used tiat down on the work, though 
you may raise or lower the butt a little in starting. It will 
take practice to learn to saw "square," that is. so the cut is 
at right angles with the surface of the plank. Most beginners 
are inclined to tip the butt of the saw away from them as the 
cut gets nearer to them. Be careful about this. It is neces- 
sary to bring the butt in as the cut gets nearer. Of course, 
this does not apply to the Back saw, as that cuts straight 
down. In this case be sure to start true to your mai'k and 
hold the saw exactly at right angles to the surface of your work 
so as to cut scjuare. 

A sEAV properly set and filed does not require grease to 
make it run smoothly but should be wiped off after using with 
an oily cloth to prevent rust. 

THE PLANE. 

The plane may be of wood or iron or a combination of 
the two. We recommend a No. 8 Bailey iron i)lane (block) 
for smoothing; a No. 5 Bailey iron plane (jack) for heavier 
cutting and jointing; a wooden plow 1-4 inch; a wooden plow 
1-2 inch ; a wooden rabbet plane 1-4 to 7-8 inch. If you care to 
spend the money a wood and iron jointer, not less than 24 
inch long is also valuable, but with care you can do this work 
with your No. 5 jack plane. The dealer will also show you 
Stanley Nos. 45 and 55 planes. These are expensive, but very 
convenient, as they will take the place of the rabbet and plow, 
and will also cut mouldings, reeding, etc. Have the dealer 
show you how to take apart and put together whatever jjlanes 
you buy. 

TO SHARPEN PLANES. 

To sharpen planes use the oil stone, and oil that will 
not gum. The jack and jointer have a cap iron on the blade; 
remove this and rub the bevelled side of the blade on the stone 
with either a spiral or figure eight motion. Some workmen 
hold the bevel flat on the stone, others prefer to raise the blade 
onto the edge a little so as to make a second bevel just at the 
sharp edge. This gives a stronger cutting edge. We prefer 
the latter method. Either way will turn up a feather edge on 
the other side, and to remove this turn the blade over on the 
flat or long side and rub it perfectly flat on the stone. Repeat 



the process until the edge is yovy sharp mikI perfectly smooth. 
Do not scratch yonr stone with tlie corner of the blade. Put 
your plane together again Ivceping the cap iron 1-32 to 1-16 
of an inch back fi'oni the cutting edge. 

TO USE THE PLANE. 

To use the plane sight along the ])ottoni and set the 
blade so it just shows. If you want to cut deeper you can set 
it deeper after trying it. Stand back of your plane, rather than 
over it, so you push it away from you instead of across in 
front of you. In this way you will cut truer and with less 
effort. Avoid a rocking motion. Hold the heel firmly down 
Avith the right hand and the front with the left hand. At the 
beginning of the stroke hold the front down squarely and at 
the end of the stroke ease up on the front and hold the heel 
down. When the plane runs off the end of the work at the end 
of the stroke, as .you reach the end lift the front so that it 
does not drop over the end and make it low. Always plane 
square, whether it makes any difference or not, for the sake of 
habit. 

CHISELS. 

Chisels are of several kinds and lengths. For our use 
we prefer as most convenient one eaeii 1-8, 1-4 and 1-2 inch 
butt chisels (short blade). You will have little or no use for 
anything Avider than 1-2 inch. 

TO SHARPEN CHISELS. 

To shar|)cn chisels pi'oceed as with the plane )>la(le. 
exe(q)t hokl 1he bevel flat on the stone. Do not rai>;e on th(> 
edge at all. as this should be thin and very keen. 

TO USE THE CHISEL. 

To use Ihe chisel keep the flat side towards th(! 
mark. For chisel work always mark with a knife. Always 
leave a nuirgin next the line until the finishing cuts. If you cut 
right to the line in the beginning you are likely to mar the 
edge of your cut. and also in soft wood the bevel of the chisel 
forces it a little towards the flat side. When cutting across 
the grain hold Ihe chisel very flat on the work or it will 
"dig in." 

THE MARKING GAUGE. 

The marking gauge is made in several patterns. The 
simplest will do. In its use you need little instruction. Always 



tip it a litth^ in the dii-cction you are moving it. If lu:>ld 
straight up it will try to follow the grain. Hold the guide 
Hrnily <ind Hat against the Avork. 

THE SCREW DRIVER. 

The screw driver should be of the very best. For 
our work we recommend one each 1-8 and 1-4 inch, fairly long. 

Always bore holes for screws. The hole should be about 
two-thirds the diameter of the screw. Put a little soap on the 
screw and it will drive easier and be less likely to split your 
work. When it is nearly all the way in and begins to go 
Ii;irder loosen the screw driver after each turn by a little back 
twist and it will be less likely to slip out or mar the screw head. 

THE BIT BRACE. 

The bit brace should be of the ratchet pattern and 
rather small. Oil the working parts occasionally. 

BITS. 

Hits are of various patterns. For our work get one each 
:U\2. 1-8 and ^-16 inch gimlet bits; one each 1-4, 3-8, 1-2, 5-S, 
3-4 and 1 inch auger bits and one counter sink. 

The gimlet bits you will use principally for screw holes. 
Be careful not to bend them. The auger bits are for larger 
holes. When using them it is a good plan, if you intend to 
bore all the way through, to stop as soon as the worm is through 
and bore in from the other side. You are less likely in this 
way to raise the grain around the hole. 

TO SHARPEN BITS. 

To shar])en bits use a slip stone (a thin oil stone). Rub 
the sharjK^ned edges on the inside keeping the angle the same 
as when new. 

THE NAIL SET. 

The nail set is a small steel punch, hollowed a little 
on the end. It is for sinking nail heads below the surface 
of the work. Always incline the nail set in the same direction 
as the nail so it will not slip off and mar your work. 

THE HAMMER. 

The hammer should be fairly light. Get one ball 
pein (round face) claw hammer, rather small; one riveting 
hammer (small). Use the claw hammer for all ordinary work 



and the I'ivctiiiu liammer for small hi'ads and welding. Always 
1)()1(I a haminm' by the end of the handle. It is balanced to be 
lichl so. ^lake the stroke from the elbow ratlier than the wrist. 
Never drive a nail with one or two single blows. It holds 
better when driven in several blows. 

OIL STONES. 

Oil stones ai'e made of composition and of natnral 
st(^ne. The former is perhaps the l)etter of the tM^o. Clean 
otf occasionally with kerosene to remove the steel and dried 
oil. Be carefnl not to seratcli it. To trne an oil stone when 
hollowed down in the middle fasten a piece of No. 1 sandpaper 
on a flat board, moisten it slightly and rub the face of tlie 
stone on it until true. 

THE MALLET. 

The m;dlet is for driving your chisel. Never use it 
on metal. Use the same stroke as with the hammer and always 
liold by the end of the handle. 

THE TRY SQUARE. 

The try square is extremely important. Have the dealer 
test it in a steel square before you buy it. It is for marking 
at right angles and for testing work. In use be sure to hold 
the thick end snugly against the work that is squared. 

THE STEEL SQUARE. 

The steel square is for larger work than the try square. 
It also has many uses which 3'ou will not require of it. 

THE SLIDING T BEVEL. 

The sliding T bevel is much like the try S(|uare except tliat 
it can be set at any angle and clamped with a thumb screw. 
You Avill use it for mitring, etc. 

THE DIVIDERS. 

The dividers are for marking circles or arcs and for divid 
ing a given space into ecpial parts. Be careful not to make 
deep holes with them. Just enough to show is sufficient. Do 
not bend the points. 

TWO-FOOT RULE. 

Two-foot rule sliould be divided to sixteentlis at least. 
Be careful not to mar it or your accuracy will suffer m con- 
sequence. 



Chapter II. 

WOOD WORKING AND JOINING. 

In 5'our Avork-room you will need several appliances which 
you can either bu}', have made or nial<e yourself. Among 
these are two saw horses; a work bench with stop and vise; a 
tool chest or closet ; a mitre box and a l)ench hook. These 
may be more or less elaborate. We give lielow the easiest and 
simplest that will do. You can improve on them if you desire. 

THE SAW HORSE. 

The saw horse is merely a straight bar with four legs 
on which to rest material while working it. You will Avant 
two. To make a saw horse get two pieces of dry fir or pine 
2 in. X 4 in. by 12 ft. long sts common lumber will do so long 
as it has no knots large enough to weaken it. The s4s means 
sized on four sides and is the term used by the mills for planing 
off the saw marks. 

Using your try square, mark across one piece as near the 
end as the wood is sound, with your cross-cut saw cut off the end 
square at this mark. With your rule measure oft' four legs, 
each 24 inches long, and one piece 3 feet long for the rail, 
mark and saw as before. The legs must be bevelled at the tops 
just like the bevels on your chisels. This will make them 
spread properly at the bottom. To cut this bevel lean one of 
tlie legs against the wall with the fiat .side to the wall and 
the bottom end about 9 inches out from the base board. Now 
]dace your rule, folded up, ■\^ ith its edge against the Avail and 
the flat side against the upper end of tVe leg and Avith your 
pencil mark the side of the leg along the rule. T>e careful 
to cut square. Bevel one end of each leg. Lay your rail on 
the floor on its flat side, set the bevel of the leg against it 
about 3 inches from the end, Avith the top of the leg even with 
the top of the rail. Drive in one nail and Avith your steel 
square see that the leg is at right angles Avith the rail, then 
put in enough more nails to make it solid. Do likewise on 
other end, then turn over and put the other tAvo legs on. Stand 
the horse up on its legs, if it rocks a little put a small wedge 
under the short leg and with your rule folded, its edge on the 
floor and flat side against the edge of the leg, mark along the 
rule. With your try square mark across the flat side of the 
leg from this line and saAV the leg off here on the angle given 
by the tAvo lines. If this is done carefully on all four legs your 
horse will set firmly on the floor. 



WORK BENCH. 

To nuilve a simple wofk l)eneli you will requii'c one 
[nvL-v 2 ill. X 12 ill. x 12 f1. loiiy- s4s ; one piece 1 in. x 
12 in. X 16 ft. s4s; one piece 2 in. x 4 in. x 10 ft. s4s; 
one piece 2 in. x 6 in. x 5 ft. s4s. Common lumber will do if 
knots are not too large. You will also need a 1-inch bench 
screw. Saw the 2 in. x 12 in. into two pieces for the top. Saw 
the 2 in. x 4 in. into four pieces each 30 inches long for legs. 
From the 1 in. x 12 in. saw off two pieces each 22 inches long 
and nail a leg firmly on each end of both of them, with the 2- 
inch side of the leg next the board and keeping the top of the 
leg even with the top edge of the board, and the ends of the 
board even with the outside of the leg. Saw the remainder 

1 in. X 12 in. into two pieces 5 1-2 feet long and nail the ends 
to the fiat side of the legs with the tops even with the top of 
the leg and the ends even with the outside of the short board 
previously' nailed on the legs. This will make the frame of 
your bench. Now stand it up and lay the top on it so that the 
top projects about 3 inches beyond the frame at each end and 
is flush Avith it in front. Nail the front top piece on first, being 
careful to get the frame square at the corners, then holding 
the back piece firmly against it nail that also. Set your nail 
heads below the surface Avith the nail set. Now stand the 

2 in. X 6 in. on the floor against the bench and mark it just 
the height on the top of the bench. Saw it square across at 
this mark for the inside jaw of your vise. Cut the outside jaw 

3 inches shorter than this so it will not touch the fioor. About 
C) inches below the top of both jaws, and exactly in the center, 
bore an inch hole for the bench screw. Most bench screws 
have a bulge on the inner face of the plate and you will prob- 
ably liave to cut around the hole on the outside jaw as if for 
a l)ig screw head so this plate will set down flat. Now fasten 
the inside jaw to the bench near the left-hand end, one end 
on the floor and the other flush with the top of the bench. 
Putting your 1-inch bit through the hole in the jaw bore 
through the apron, next unscrew the threaded collar from 
the bench screw and set it in the center of a piece of wood 
2 in. X 4 in. x 8 in. To do this bore a hole through the 2 in. x 

4 in. and ream it out with your knife large enough to take the 
collar, or else take it to a carpenter shop and have it bored 
with a larger bit. Now, having fastened the bench screw to 
the outside jaw, put it through the inside jaw and apron and 
then screw on the 2 in. x 4 in. with the collar in it. Nail the 
2 in. X 4 in. to the inside of the apron. There only remains 



the slide in the bottom of the vise. Three iuche.s above the 
bottom end. in the center of the outside jaw, bore an inch 
hole throiiirh both jaws. Get a piece of hard wood (broijm- 
stiek) about IS inches long- that will run easilj' through this 
hole. Put it through the hole till the end is flush with the 
outside of the outside jaw. Then wedge it tight, or nail it 
from the side so that it will run easily through the inside jaw, 
but hold the outside one. Bore 1-4 inch holes through this 
slide from side to side about 1 inch apart. Cut the head off a 
20d nail and use this as a pin to hold the bottom of the jaws 
as wide (»pen when in use as the thickness of the material you 
have in the vise, or as nearly so as the holes in the slide will 
permit. 

BENCH STOP. 

The bench stop is used to brace your work against Avhen 
planing, etc. You can buy an adjustable iron one or make 
a simple one as follows: Six inches from t'^e left-hand end of 
the bench, and about 4 inches from the front, bore a hole 
straight down through the top with a bit the size of your 
broom-stick, before mentioned. Into this drive the broom-stick 
tight and Avith the saw cut it off about 1-2 inch above the top 
of the bench. This will answer temporarily. 

You now have your bench and saw horses and can begin 
work. They may appear a little crude but Avill answer every 
purpose and you can buy or build finer ones Avhen you have 
learned to use the tools easily. 

AVe would advise postponing the tool chest until you 
have had some experience in the use of tools. 

The mitre box is described later in your Avork and you 
will not need it for the present. 



13 



Chapter III. 

SQUARING AND JOINTING. 

For this and other exercises we recommend 2 in. x 4 in. 
kiln dried No. 1 pine s4s. This is less than 2 in. x 4 in., as 
these are the dimensions in the rough and some surface is 
taken off in dressing it. In speaking of lumber we give 
dimensions in the rough, but in speaking of parts of a piece 
of work actual measurements are always given. 



/f-d 



e: a. 



r 



Exercise No. I. 



Saw off a piece of 2 in. x 4 in. 18 1-4 inches long. Tlic 
object of this exercise is to learn to square this block, th;it 
is, make every surface perfectly fiat and straight and exactly 
at right angles to the adjoining surfaces. This operation is 
nc-cessary on almost every piece of work you will do and its 
accuracy is of the utmost importance. Place your piece on 
the beneli with one of the wide sides up and the end against 
the bench stop. Set your jack plane to cut a very thin shav- 
ing. Plane the upper surface carefully, testing it from time 
to time with the side of your plane to see that it is perfectly 
straij^ht. This is called jointing. It must also be flat. Test 
this wifli the side of your plane laid across it and in all 
directions. Next turn it up on edge and joint and square m 
tlie same maimer. To test the angle use the try square with 
the l)road arm against the face of the side you have already 
s(|uare(l. Plane the other two sides in like manner until ail 
fop.i- sides are absolutely square with adjoining sides and per- 
feclly siraight from end to end. IMeasure off 1-8 in. from 
one end and mark witli try scpiare and knife across the top. 
Turn it up and mark from this line down the side next you. 
With the back saw cut s(|nare to these marks. Now measure 



18 in. from this and cut the other end off square in the same 
manner. Put the piece in the vise end up and projecting 
about an inch above the vise and with your smoothing plane 
plane the ends true, testing from all four sides with the try 
square. It is well in this operation to put a piece of waste 
material back of your work in the vise, with its upper edge 
even with the upper edge of your work. This will prevent 
chipping off the further edge as you plane across it. Square 
up other end in like manner. You will probably have to try 
some little time before you can get this exercise perfectly, 
but persist. Though simple it is perhaps as important as anv 
you will have and you will be called upon to repeat this 
process constantly. Do not slight it. therefore, and when yon 
can square a block perfectly you have made a great stride 
forward. 

HALF TENON AND HALVING. 

Saw off a piece of 2 in. x 4 in. 12 inches long. Square 
it up as in Exercise I. Select the wide side with the best grain, 
etc., for your working side and mark it "0." ^Measure otf 
3 1-2 in. from the left-hand end as it lies on the bench before 
you and Avith your knife and try square mark across the 



9 


Vvi^'' 


>>^> 


? 








, t 




c 


a 




f 


! . If 




1 




b 


= d. 




'"^L 


1^^ 





Exercise No. II. 



working face (a-a). Turn up on edge and mark across from 
this line (b-b). Turn on other edge and do the same. Next 
measure 3 in. farther from the end and mark across the work- 
ing face and down the two edges in the same manner (c-c-c). 
Then 3 1-2 inches farther from the end mark across face and 
edges as before (d-d-d). Now take your marking gauge and 
set it 7-8 in. deep. Turn work on its edge, with the workins 
face to your right and with the gauge make a line along the 
edge from (e-e-e), that is, a line 7-8 of an inch below the work- 
ing face and parallel with it. Do likewise between {Q^ and 



(d) and (f-f). Turn the work over and mark the other side 
in the same way and also carry your gauge mark across the 
end (g-g). Place the work on the bench working face uj) with 
the marked end to the right. With your back saw cut down 
at (b) to the gauge mark (e), being careful that your saw cuts 
just to the mark both on top and down the edge. Saw in the 
same way at (c) to (f) and (d) to (f). being carefnl in all 
cases that your saw cuts only to the middle of your mark, the 
cut being in the wood to be removed, which in our case is 
between (b) and the end and (c) and (d). Do not mar 
corners in starting your saw. Place the work in the vise with 
the gauge mark just above the jaws. With your widest chisel 
cut out the parts to be removed, cutting across the grain, flat 
side of the chisel down. Do not try to take out too much at 
a time. Do not cut all the way across as the wood is likelv 
to chip off the far side below your gauge line, so cut only half 
way across, then turn the piece around and cut from the other 
side. When you reach the bottom (the gauge line) be very 
enrefnl to hold the chisel flat, that is, straight across, or you 
will not have a flat, even bottom. Next turn the work up on 
end in the vise and with your rip saw cut down the gange line 
across the end (g-g) and down the edge (e-e). Repeat this 
exercise until you can get it absolutely accurate. All sur- 
faces should be "square" and smooth. These operations are 
constantly necessary and must be accurate or your joints will 
show unsightly cracks. While, on the other lumd. when you 
have mastered this exercise, you have accomplished a great 
deal, as you will appreciate a little later. 

HALVED JOINT. 

Ro far we have not required our matei"i;i] to be of any 
l);ii'1icular dimensions when finished. W^e shoidd now be able 
1() scjuare up to given dimensions, which is. of course, neces- 
sary in most cases. It is in this exercise. 'J'herefore. remember 
to get you I- iiialerial out a trifle larger than tlu^ dimensions 
i:i\('n foi- Ihc finished Avork in order to leave room for squar- 
ing. The purpose of this exercise is to join two pieces of 
e(|ua] tliekncs-; which cross each other at right angles, and 
luive them (hish lop and bottom; the pieces to be of the exact 
diini'nsioiis L;i\t'n. titled closely on l)oth sides, each piece 
('.\;i('t]y in the eenler of the other, both sides to be perfectly 
smooth and even when finished and the ends planed square. 
To (h) this get out two [ieces which square iqi as in Ex. I to 3 1-2 
iti. wide. 1 3-4 in. thick and 12 in. long eaeli. Choose ana 
iiiifk- working- fnce of each. Find llie eentei' {(] in. from each 



end). Measure 15-8 in. each way from the center and mark 
across the working face of one piece and bottom of the other 
piece (a-a) and (a-a). Now set your marking gauge to halt 



J^ 



Exercise No. III. 



the thickness of the piece (7-8 in.) and mark the bottom of 
your cut as in Ex. II (b-b). Do not forget that the workinu- 
face of both pieces must be up. Therefore, the cut is mad^ 
on the working face of one piece and the bottom of the other. 
Proceed to saw and chisel out as in Ex. II. when, if accurateh 
done, the pieces will fit together perfectly making a cross 
with all four arms exactly the same length. 

You will use this joint often in furniture and can make 
the pieces cross at any angle by using the sliding T bevel set 
at the angle you desire for marking across the tops and 
b(jttoms of the pieces and the try stjuare for the edges. 
Accuracy is essential both as to dimensions and work. 

MORTISE AND TENON. 

The mortise and tenon are used more than any otlier kind 
of joint in furniture. Therefore great patience and care are 
justified in learning to make them nicely. When the end of 
one piece is to be joined to the side of another, the mortis" 
and tenon are almost always used. The mortise (No. 1) is 
an opening, square or oblong, to receive the tenon and mav 
go part way or all the way through. When part way it is 
called a "blind" mortise; Avhen all the Avay a "through" mor- 
tise. The tenon (No. 2). is a projection on the end of the other 
])ieee Avhieh lits into the mortise. It generally has two 
shoulders, but may have three or four, made by cutting awav 
the sides. It should be about one-third the thickness of t1u^ 
piece. In furniture it is fastened with glue, and wher(^ 
advisable with a Avooden pin also. The objects of this exercise 



are that the pieces be straight and accurately squared to the 
measurements; that the tenon be exactly in the center of the 
joint; that the pieces be square to each other when joined; 
that the tenon fit the mortise exactly without squeezing; that 
the shoulders fit up to the cross pieces nicely and that when 
joined the two pieces be perfectly flush at the joint. The 
method is as follows : Square up two pieces to 1 1-2 in. x 3 1-2 
in. X 12 in. long each, take one piece for the mortise piece, turn 
it on edge and find the middle. Measure 1 3-4 in. (^a-a i each 



Exercise No. IV. 

way from the middle and mark across Avith knife and tr\' 
square. As the tenon is to be one-third the thickness of the 
piece set your marking gauge 1-2 in. deep and mark a line 
parallel with the side betM^een these two lines (b-b) and (b-b), 
being careful not to run over the line. Turn around and mark 
other side of the mortise in the same way. You now have 
the mortise marked on one edge. To mark it exactly opposite 
on the other side, mark across the flat side of the piece very 
lightly at the end linos and across the other edge at these lines. 
This will give you the end lines on the other side. Mark the 
side lines with the gauge as before. Lay the piece aside and 
lake the tenon piece. Now, as your mortise piece is 3 1-2 in. 
wide, your tenon will have to be 3 1-2 in. long and you will 
want a little exti-a to smooth off the end, so better measure a 
Iritie over 3 1-2 in. from the end, the piece being on edge and 
mark across (c-c). From this line mark square across top and 
l)(»ttom sides. Also across the other edge. This gives tlie 
shoulder line for the tenon. Take the gauge, which is set at 
1-2 in., and mark parallel Avith the flat sides from these shoulder 
lines to the end ''d-d) (d-d), and this will give the thickness 
i)f the tenon. Lay aside the pieee and put the mortise piece 
ill 1h(^ vise edge up. AVith yoiii- 1-4 in. chisel and mallet cut 



20 



your mortise part way through, then turn the piece over arul 
cut from the other side. Remember to keep the fiat side of 
the chisel towards the edge of the hole and leave a slight 
margin all the v.-ay round. When you have cut the mortise 
clear through in this way, take your 1-2 in. chisel and true 
up to the lines, the sides first and then the ends. See that all 
four sides of the mortise are straight through from side to 
side or the tenon will jam. Lay aside the piece and take 
tenon piece. Lay it flat side down and cut tenon exactly the 
same on both sides as you did the half tenon in Ex. II. Insert 
tenon through the mortise and plane off the end flush with 
the mortise piece. Now look carefully over your work and 
see if it fulfills all the objects of this exercise. Do it over until 
it does. Do not get discouraged. It is a mighty nice operation 
and Avhen you can make this joint properly you may be proud 
for it is a step beyond simple carpentering and Ix'longs to the 
Joiners' and Cabinet IMakers' art. 

PANELLING. 

Panelling is used in doors, the ends and backs of furni- 
ture, etc. It may be more or less ornamented with beading, 
moulding and so on. but in the best modern furniture all orna- 
ment is omitted and the panels absolutely plain. The objects 
of this exercise are to make a frame 13 in. x 17 1-2 in. x 1 3-4 in. 
thick with two sunken panels; that it shall lie perfectly flat 
when put together; be smooth and true at all joints and exact 
in dimensions. The method is as follows: Get out a piece 
which will finish to 1 3-4 in. x 3 1-2 in. x 60 in. Joint and 
sfiuare to required thickness, also square up one edge only. 
Set in the vise with the squared edge up. Set your gauge 
1-2 in. deep and mark along the top edge 1-2 in. from and 
parallel with the side farthest from you. Then turn it around 
and mark other side. This will give you the Avidth of the 
rabbet (see end view No. 4). in Avhich the 3-4 in. sunken panel 
will slide. To cut this rabbet use your 1-2 in. rabbet plane 
and plow (cut) 1 in. deep. If you have a Stanley No. 45 or 
No. 55 it has a fence to guide it, but if you have only a wooden 
rabbet plane you must use a straight strip of wood to guide 
the plane. There are several ways of fastening this strip. The 
easiest way is to brad it on to your w^ork along the gauge 
line, but this leaves the brad holes. The best way is to take 
a strip a little longer than your work and fasten a block 
on each end of it which Avill drop down over the ends of your 
work, then wedge it tight at each end. In this case the strip 
must b(' stout enough, of course, not to bend as you plaup 



against it. When you have plowed an inch deep, turn your 
work around, move guide to other side, and with your 1-4 in- 
rabbet plane plow the other 1-i in. to be taken out, making 
the rabbet 3-4 in. wide. Be sure to plane square or the panel 
will not lie fiat. When plowed eut this piece into two pieces 18 
in. long for the sides of the frame and three pieces 8 in. long for 
the top, bottom and middle. Plow one of these 8 in. pieces, 
which you intend to use for the middle bar, on the side oppo- 
site the one alreadj^ plowed, a?/ it will have a panel on each 
side of it (see No. 6). Now cut a tenon 1 in. long by 3-4 



° 




<X' 





1 







s5 -^ 




4 


i ■5' ; 


s 1 



Exercise No. V. 

in. thick on each end of all three 8 in. pieces, just as you did in 
Kx. ill (see Xos. 2 and 3). For the panels saw from an inch 
board two pieces 5 1-2 in. x 8 in., dress them down to 3-4 in. 
thick. Put one of the 18 in. frame pieces in the vise with the 
rabbet u]). Insert the tenon of an 8 in. piece in the rabbet 
1-4 in. from the end, with the rabbet in itself turned so as 
to receive the panel. With your 1-4 in. auger bit bore a hole 
straight through the frame and tenon 1-2 in. from the edue 
of the frame in the center of the tenon, as at (a) No. 1. Make 
a round plug to Ht this hole, sand paper it sraooth and drive 
it in gently. This will hold the tenon in plac(!. Slide n panel 
into this rabbet and down into the rabbet in the frame piece. 
Next slide the center piece in so the rabbet fits over the panel 
and the tenon in the ral)b<'t in the frame. Bore and pin like 
the fir.st one, then insert the other panel and end piece in 
like manner. Now take the remaining 18 in. frame piece and 



22 



fit it down sniio: over the tenons and panels, leaving 1-4 in. 
margin at each end. Pin each of the three tenons, being careful 
to hold the shoulders snngiy against the frame and the piece 
tight down on the panel. Cut the pins off flush and sand 
paper smooth. Now put the whole frame in the vise and with 
your plane trim to exact size. When you can do this exercise 
so that all joints are perfect, all surfaces flat, smooth and even, 
and all dimensions correct and have mastered the exercises 
before it you can pretty nearly make furniture. There is 
one thing more, however, which is important, a little difficult 
and frequently required, and that is dowelling and joining. 

DOWELLING AND JOININa. 

For this exercise practice will do more for you than 
instruction. The object of the exercise is to join two boards 
at their edges so as to make a continuous surface with no 
crack or unevenness at the joint, as in table tops, etc. You 
will be called upon for this operation whenever you make 
any piece of furniture with a plain surface more than 8 to 
10 inches wide. The method is as follows: Take two pieces 
7-8 in. x 6 in. X 36 in., select working face of each. Find 
the center of each and with knife and try scjuare mark across 
the edge to be joined as at (a). Measure 12 in. each way from 



± 



a 



-±k 



Exercise No. VI. 

center (b-b), and mark. Take your marking gauge, set it 
half the thickness of the board (7-16 in.) and mark a fine 
point 7-16 in. below the working face on the knife marks, as 
at (c). With brace and 3-8 in. bit bore a hole 1 1-2 in. deep 
exactly square into edge of the board at each point, as at (d). 
Repeat the process in the other board. These holes are for 
the dowels (e-e-e), which are pins that keep the boards from 
wabbling at the joint and also hold them together. Yon will 
appreciate, therefore, that if the holes are not exactly straight 
in, the pins will lean and not fit into the holes on the other 



23 



piece, or else tip it one way or the other. To make the dowels 
square up a piece 1-2 in. square and 9 in. long, then round it 
with your smoothing plane and sand paper to exactly 3 8 
in. diameter, or, in other words, to fit the holes tight without 
jainming. Cut into 3 in. lengths with back saw. Before insert- 
ing the dowels the pieces must be jointed. To do this turn 
one on edge in the vise and square up the top edge (f-f) with 
your jack plane. Observe strictly directions given in Chap- 
ter I for planing. When you have the edge precisely square 
and straight lay aside and square one edge of the other piec<\ 
When this is done, before taking it out of the vise, test it ])y 
standing the other piece on it with the squared edges together 
and working faces turned the same way. Test the surface of 
the two boards by holding the back of your steel s piare across 
the two, seeing that it touches at the two edges and at the 
joint and that no least crack shows on either side. Now insert 
your dowels and the joint will be true. 

This is a difficult exercise and requires much practice, 
but its accomplishment brings the keen delight of work well 
done. 

MITRING. 

The mitre is used to foi-m a joint where two pieces come 
together at right angles and make a corner. The end of each 
piece is cut at an angle of 45 degrees (No. 1). To make this 
joint you will want your mitre box wliicli you can now make 
with comparative ease. It must be precise to be of use. It 
is a box without ends or lid (No. 2), and made as follows: 
Get out three pieces 7-8 in. x 4 in. x 18 in. Joint and square 
them. Select working face of each. Firmly nail sides to 
bottom, all faces inward; 3 in. from end mark with knife 
and try square ncross top of both si(U^s (a-a). From tliis line 




Exercise No. VII. 

mark in same way straight down tlie outside of the side 
towards you (b-b). With back saw cut down this line till 
you strike tlie bottom of the box, starting your saw in tlie 



24 



mark (a-a) ou top of the two sides. Now measure 4 in. farther 
from same end and mark across the tops of sides (c-c). Then 
■4 in. farther and mark as before (d-d). Take your steel 
square or other perfectly straight edge laid diagonally across 
the tops of the sides from (e) to (d) and (d) to (e) just at 
the points where these marks run off the insides of the edges 
and mark the tops of the sides at this angle (45 degrees). 
Now mark square down the outside nearest you (d) to (e), 
and (c) to (f). With your back saw cut diagonally across 
in the marks on top and straight down the mark ou the side 
to the bottom of the box. The cut straight across is for a 
guide for your saw in cutting square ends and you can use 
it also for the shoulders of tenons. The 45-degree cut is for 
guiding your saw when cutting mitres, like the corner of a 
picture frame. You will realize, then, that the sides of the 
bottom piece must be carefully squared or the sides of the 
box will not be square to the bottom, and it must be exactly 
4 in. wide or your angle will not be true and your mitres will 
not fit. 

If at any time you need a mitre box to take wider mate- 
rial make the bottom wider and proceed otherwise as above, 
except that the space on the inside face of the sides between 
tlie diagonal cuts must always be exactly the same as the 
Avidth of the bottom. In use. remember that if you plane any- 
thing off the outside edge of a mitred end 3'ou make the piece 
shorter and anything off the inside makes it longer, as you 
will readily understand by experimenting a little. Therefore, 
you must be careful to have your piece of the proper dimen- 
sions before mitring or else allow for this in its length. 

DOVETAILING. 

To make an accurately fitted dovetailed corner is good 
evidence of a workman's ability to use tools. There are three 
kinds: First, common dovetailing (Fig. 1). where strength 
is more important than appearance, as in box corners, etc. 
The pins and tails should be of equal size and about as wide 
as the material is thick. The pins are the parts widest on 
the inside face of the piece (a-a-a) and the tails are the parts 
which are widest at their ends (b-b). 

Second, lap dovetailing (Fig. 2), which shows only from 
the side as at the front ends of drawers. The tails are always 
on the side piece and should be two to four times as large as 
the pins. There is no rule for size. Use a size that is stronsc. 
looks well and divides the space evenly. Always begin and 
finish Avith a half pin. 



25 



Third, the mitre dovetail, not illustrated, which is hidden 
altogether. It is much more difficult to make and not so strona; 
as the others. You will have no use for it. 

Cut your pins first and ninrlc the tails from them, then 
if you make a slip you can correct it before marking the tails 
and after you have had some experience you can learn to cut 
the tails Avithout marking the bevels. 

The object of this exercise is to make a lap dovetail .ioint, 
as of a drawer front. Get out one piece 7-8 in. x 5 in. x 12 in. 
when jointed and squared, for the front of the drawer and 
one piece 1-2 in. x 5 in. x 12 in. for the side of the drawer. Select 
working faces which will be the insides. Ret your marking 
gauge a shade less than the thickness of the side piece and 
see that the marker is sharp. Now mark across the inside 
face of the front piece, gauging from the end (c-c). This 




Exercise No, VIII. 

is the length of the pin. The length of the tails (which are 
on the side piece) should be about 3-4 the thickness of the 
front piece, or about 5-8 in. in this case, so set your gauge 
5-8 in. deep and mark across tlie end of the front piece gaug- 
ing from the inside (d-d). AVithout changing your gauge 
mark a line across both sides of the side piece, gauging from 
the end (e-e). Place front piece in vise, marked end up and 
face towards you. With a pencil, space out the tails, which in 
this case will be about 8-8 in. wide, making a half pin at 
beginning and end and three full ones between. INIake them 
even distances apart, of course, and when you have located 



26 



them set your T bevel at an angle of 1 in 6 and marlc them 
accurately on the end of the front, and with your try square 
continue these lines down to the gauge line (c-c) on the face. 
Take your back saw and cutting on the inside of the bevel lines 
saw down to the gauge mark (c-c) on the face, but not beyond 
the gauge mark (d-d) on the end. In other words, you can 
only saw the corners. ]\Iake all cuts. in one direction first, then 
tlie others just as you would file a saw. It is easier to be 
accurate this way. Next, with your chisel clean out the spaces 
l)etween the pins. These spaces will l)e like a mortise, open 
on the end and wider at the bottom than at the surface. There 
will be a little space close in the corner where you cannot get 
the chisel, clean this out with your knife. Remember not to 
cut quite to the line till the very last. The pins are now com- 
plete. Lay the side piece (No. 4) on the bench face up. Stand 
the end on it with its inside face just covering the gauge mark 
(e-e) across the side near the end, as illustrated. Hold it 
firmly and mark the side around the pins in the end piece. 
Place the side in the vise, end up, and square the tails across 
its end. With the back saw cut the sides of the tails (on 
inside of lines), and lay on the bench and cut between the tails 
with your chisel. 

If you have much dovetailing to do it is worth while to 
get a chisel bevelled on both sides and across the end, like a 
lathe chisel. It is easier to get into the corners with this. Put 
your pieces together and dress off the side till it is exactly 
flush with the front. 

When you can do this exercise and the preceding ones 
accurately you can do about anything you will be called upon 
to do. It is hard, but worth while. You will be able to make 
the common dovetail easily after this. Just remember, in that 
ease, to make pins and tails the same size and about as wide 
as the thickness of the material. 



27 



Chapter IV. 



FASTENINGS. 

There are many ways of fastening' the parts and joints of 
furniture. Among those most used are brads, screws, wooden 
pins, shaping of the parts and glue. Glue is used in almost 
all joints. Use brads and screws very sparingly. Any other 
fastening is preferable in most cases. If you do use the latter 
in any part that is visible, first bore a hole from 1-8 to 1-4 
in. deep, large enough to take a wooden plug to cover the head 
of the metal. For fastening by shaping the parts there are 
many devices. You have learned the mortise and tenon, the 
dowel joint, the mitre and the dovetail. These will answer 
almost every requirement, with glue in most cases, and in 
some cases pins to hold them together. When using glue there 
are several things to be observed. It should not be too thick 
or too thin. Experience soon teaches you how thick to use 
it for each kind of work. As a rule about as thick as thin 
syrup will be right, but hard wood requires thinner glue than 
soft Avood. If the pieces are very cold they should be warmed 
and the glue always used hot. When the joint is such as ad- 
mits rub the parts together, and in all cases clamp tight to force 
out the surplus glue and hold the joint until the glue is dried. 
It should stand S to 12 hours before being handled. To glae 
end grain first size it, that is, put on a coat of glue, allow it 
to dry and then proceed as above. Use the best furniture glue, 
though the prepared glues are good and very convenient, but 
if you use the latter get a small quantity, as it is better to use 
it hot and it loses strength by frequent heating. 

To |)repare glue use a glue pot which is like a double 
boiler. Put as much as you think you will use in the inside 
pot and cover with cold water. Let it soak six or eight hours, 
then put the smaller pot in the larger one with water in the 
outside one and heat until the glue is hot. 

Glue can be made to stand the weather by adding one part 
boiled linseed oil to eight parts glue, stirring all the time, or 
else use skinimed milk instead of water in the glue. 



28 



Chapter V. 



DRESSING OFF AND SMOOTHING. 

As a rule it is better to leave the final dressing off till the 
joints are all made and glued or otherwise fastened, so that in 
case there are any little inaccuracies the pieces can be planed 
smooth. This always has to be done with a glued joint, either 
with plane or scraper, or both. 

The scraper is simply a flat piece of thin steel about 3 in. 
X 5 in. The best ones are cut from an old saw, but you can 
buy very good ones. To sharpen a scraper lay it on a flat 
board and rub the side of the edge with a piece of hard steel 
(your nail set is good) laid flat on it, then take it up and 
draw the steel firmly along the edge. This makes it flat on 
the sides and edges but turns up a little sharp edge. Use both 
hands with the scraper and tip it in the direction you are push- 
ing it and scrape a little across the grain. It is well to scrape 
all surfaces to take out any plane marks or nicks and it saves 
work when sandpapering. Sandpaper with coarse, then fine 
sandpaper, or steel wool, always rubbing with the grain. Tt 
is hard to be sure that your M^ork is quite smooth before it 
has any coloring on it, as the shadows are very light. Look 
across it towards the light both ways, as the shadow is always 
away from the light, of course. If in doubt, rub some more. 
The finish of furniture is of the utmost importance and it 
should be absolutely smooth before anything is put on it. 
Even the fine sandpaper will make scratches which show on 
a polished surface if not always rubbed with the grain. Have 
horizontal work between you and the light; vertical work 
stand between light and work. With oak it is well to moisten 
to raise fibre, then rub again when dry. When you are satis- 
fied and doubly satisfied that not a least blemish remains, and 
not before, then proceed to put on your finish. 



29 



Chapter VI. 



STAINING. DYEING, FILLING, POLISHING. 

For coloring the wood wipe-stain is perhaps the easiest 
and quickest and is very satisfactory. You can get it at any 
paint store read}^ for use. Put it on with a brush of con- 
venient size for the work and immediately wipe off with old 
rags or waste. It will not show brush marks and do not be 
frightened if it is much darker than you expected before it 
is wiped off. If the first coat does not make it dark enough, 
allow it to dry 12 hours and apply a second coat. After the 
last coat has dried 12 hours or more, and it is thoroughly hard, 
if on fir or similar wood, you may proceed to polish. If your 
material is oak or other open grain wood you will need to 
apply a filler, which you can also get at the paint store. This 
should be of the same color as the stain and put on in the same 
way. When it turns dull, which will be in a few minutes, 
wipe off all on the surface. This will leave the pores filled. 
Allow filler to dry at least 12 hours before polishing. 

The best and easiest polish, as well as the most beautiful, 
is Avax. To prepare this shave beeswax into a pan. add as much 
spirits of turpentine as will moisten it through, and powdered 
white resin, in proportion of one part resin to sixteen parts 
wax. Dissolve on stove, being careful not to let it catch fire. 
Stir it up and when cool it is ready for use. Roll some 
cloths into a ball, smooth on the outside, and use to apply the 
polish. Put the polish on very thin and evenly, allow it to dry 
a few hours, then with a clean ball of cloth (preferably woolen) 
rub at first gently with the grain, then harder in a circular 
motion and finally a few strokes Avith the grain. After 12 
hours rub again with dry cloth, and if a higher polish is desired 
apply a second coat of wax as before. This polish will improve 
with age and occasional rubbing. 

Instead of the wipe-stains you can use wood dyes which 
come already prepared. They sink farther into the wood and 
do not wear off as soon, but on the other hand are much 
harder to apply evenly. The filler, however, will take off some 
of the dye and you can sometimes even up a little any dark 
spots when rubbing down the filler. The dye does not take so 
long to dry as the wipe stain, six hours being plenty. Polish 
as al)ov('. 



30 



The filler in both cases will darken the color a little. Do 
not forget this in applying your stain or dye, and in some cases 
you will not require any other coloring than the filler itself. 
Of this you can judge by the color j^ou desire and a little 
experimenting. 

The hard glossy finish is not used on this kind of furni- 
ture and is very much more difficult to handle. In case you 
desire to use it on anything jiroceed as follows : Put into a 
glazed vessel a little gum shellac, just cover with 90 per cent 
alcohol. Stir till dissolved, about two hours, though not nec- 
essarily all the time. Do not use a tin vessel. Do not allow 
lumps to settle. When thoroughly dissolved take soft cloths 
and make a ball about 2 in. in diameter smooth on the bottom. 
Put on this half a teaspoon of the polish, then around the ball 
put a piece of cloth about a foot square, holding the ends in 
your hand. On the smooth side put a few drops of linseed oil 
and rub your work lightly in a circular motion all over. When 
it rubs harder put a few drops more oil on the ball and also 
on the work. Watch carefully. If the cloth sticks to the work, 
thin the polish on the ball with a little alcohol, first taking off 
the outside cloth. Replace the outer cloth with the other side 
out. When the work is all filled with polish and has a good 
gloss, change the outer cloth for a clean one. Put a few drops 
of alcohol on it and proceed as before till the oily look has 
gone. Too much alcohol will wipe off the polish in splotches. 
When the ball leaves little or no mark rub fast and strong with 
the grain a few minutes and you are done. This finish improves 
with age also, but requires practice to apply properly. 

To describe the numberless methods of coloring and fin- 
ishing woods would fill a book several times the size of this 
one. The above are the best, quickest and most easily learned. 




PIANO OR ORGAN BENCH 



32 



PIANO OR ORGAN BENCH. 

Piano or Organ Bench : This seat is very easy to make and 
much handsomer than the ordinary piano stool. Lumber 
required 10 ft. 1 in. x 12 in. and 7 ft. 1 in. x 3 in. 

First, get out the end pieces to dimensions given. Cut the 
mortises for the ends of the stretcher as shown, the top of 
the lower mortise (a) 6 in. above the floor and the top of the 
upper mortise (a) 18 in. above the floor. The tenon on the 
stretcher has only one shoulder, as shown at (c)- Next cut 
a rabbet 1-4 in. deep for the seat to fit in across the inside 
face at each end, just above the upper mortise as shown by 
dotted lines at (d). Then round the corners and cut the 
handles and arches in the bottoms with the compass saw. Next 
get out the seat exactly the same width as the ends and 1-2 
in. longer than the space betw^een the ends to allow for the 
1-4 in. in the rabbet at each end. The stretchers (b) are, of 



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course, 1-2 in. shorter to their shoulders than the seat for the 
same reason, though 3 1-2 in. longer including the tenons. To 
cut the holes for the pins, insert the tenon through the end and 
mark across it on the outside just where it comes through the 
mortise, then take it out and bore a hole about 1-2 in. in 
diameter on this line so that when the tenon is inserted through 
the mortise one-half of the hole will be outside. You can thus 
make your pins round and by splitting them in half have two 
pins. All sharp edges should be rounded off a little with the 
plane so they will not be so easily marred. Smooth thoroughly 
before putting together. The seat is held in place by two 
screws from underneath through the upper stretcher into the 
seat. These screws should be near the ends of the stretcher 
and well into the seat, but be very careful they do not go 
through the seat. 



33 




PLANT STAND 



PLANT STAND. 



Plant Stand: Lumber required i ft. 1 in. x 12 in. Cut 
the top from one end of your board. Then hiy out the four 
legs marking the top of one next the bottom of the other to 
save sawing and the four will just about take up the width 
of your board. The two stretchers will cut out of the remain- 
ing lumber leaving you a piece about 6 in. wide to spare. 
Smooth up the edges of the top and take off the sharp corners 
with your plane. Next shape the legs cutting the rabbet 1-4 
in. deep for the to]) to fit in. then the mortises for the tenons 
on the stretcher. Next shape stretchers, halving them together 
where they cross and making the tenons about one-third as 
thick as the material itself, and shaped as in the drawing. 
Smooth thoroughly before putting together. Fasten the tenons 
with glue and the top either wuth a plug giuf'd in as at (a), or 



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with screws sunk and covered by a plug as at (b). This ])lng 
should be about one-half inch diameter and allowed to project 
about 1-2 in., the end being rounded as in illustration. 

This stand made about 27 in. high, 23 in. in diameter, 
makes a pretty tea table. 



35 



MAGAZINE STAND. 

Magazine Stand: LnnilxM- recinired 20 ft. 1 in. x 12 in. 
Got out ends first to dimensions given. Cut mortises for the 
tenons on the ends of the to]i and bottom shelves, the top of 
the lower ones 5 in. above the floor and tlie top of the upper 
ones 35 in. above the floor. These shelves do not fit in a 
rabbet. Next cut rabbets 1-4 in. deep for the other two shelves, 
the top of the lower one being 15 in. and the top of the upper 
one 25 in. above the floor. Cut holes for pins as described in 
directions for piano bench. The brace (a), below the lower 
shelf has no tenons and no rabbet ])ut just fits snug and is set 
back from the edge of the shelf about an inch, as shown by 
dotted lines in end view. Is fastened by two screws from 
underneath as shown. These screws need not be plugged, as 
the holes will not show. 

Make the tenons on the ends of the lower shelf about 2 
in. wide and about 11-2 in. for the upper tenon, the tenons 
being full thickness of the shelves. 




MUSIC CABINET 



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MUSIC CABINET. 

Music Cabinet: Lumber required 12 ft. 1 in. x 12 in.. 
6 ft. 1 in. X 4 in., 2 ft. 1-2 in. x 9 in., 14 ft. 1-2 in. x 1 in. and 
4 ft. 1-2 in. X 12 in. 

Note that the top and bottom shelves are rabbetted "'-4 
in. into the sides, and held by screws from the ontside cover d 
by plugs. The door is made with panel 1-2 in. thick. The 
three middle shelves are adjustable, that is, may be set at any 
height by cutting notched uprights of the 1-2 in. x 1. in. mate- 
rial and screwing them to the sides of the case, as shown in 
side view at (a), and cross pieces to fit in these notches and 
support the shelves at (b). The shelves are not fastened at 
all but the corners cut out to fit round these uprights and rest 
on the cross pieces (b). The support under the lower shelf 
(c) is simply fitted in and fastened with screws from under- 
neath. It will look well to set the door in about 1-8 of an inch 
from the front edge of the sides and top and bottom shelves. 
Piece (c) should also be set in 1-8 of an inch. The back should 
be fitted between the sides and fastened with screws covered 
by plugs. Any kind of catch may be used, but a square wooden 
knob bevelled to a point on the outside and cut to fit a round 
hole and fastened with glue in the door, as illustrated at (d), 
will appear best. If this knob is used get a friction catch 
and set it in the top of the door. 




HALL SEAT 



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43 



HALL SEAT. 

Hall Seat: Lumber re(iuirecL 12 ft. 2 in. x 12 in^ 36 ft. 
1 in. x^l2 in. The enHs are of the 2 in. x 12 in. material 
dowelled and glued. The box under the seat has two tenons 
on each end of back and front, which may either come tlirough 
flush with the outside of the ends or not qiiite all the way 
through if preferred. These tenons should be about 2 in. wide, 
full thickness of board and are fastened with glue and wooden 
plugs straight in from the front and back. Note that the box 
front and back (a) is set in about an inch from the edge oE 
the seat. The seat itself is hinged to a 3 in. strjp (b) side view 
at the back, and has a piece (c) across each end about 2 in. 
wide same thickness as the seat and flush with it, instead of 
battens underneath, to keep it from splitting. The bottom of 
the box (d) fits inside resting on a square strip at each end 
which is screwed to the ends of the seat. The back is rabbetted 
into the sides and fastened with screws from the back as at 
(e). This back is made of three boards, as at (f), and fastened 
with screws. Note that the edges of these boards are planed 
to an angle of 45 degrees, then the lower edge of each is just 
planed off so that when put together there is a little V at the 
joint. This makes an easy and good looking joint, as no crack 
will be visible, while at the same time it does not require the 
care and time necessary, in the ordinary joined edges. This 
seat will be found very convenient in the hall for rubbers, etc., 
if you have a i2,'alvanizod pan made to fit in the bottom of 
the box. 



44 




46 



HAT TREE. 

Hat Tree: Lumber required 16 ft. 1 in. x 6 in.. 6 ft. 4 in. 
X 4 in. The 4 in. x 4 in. is, of course, for the post which should 
Ix' l)evelled to a point at the top as shown. The feet are made 
hy gluing three pieces of the 1 in. x 6 in. together, as shown 
at (a), and then sawing to shape with compass saw. It will 
.save work to allow the middle piece to project about 1 1-2 in. 
for a tenon to fit into mortise in the post, as shown at (a^i. The 
arch in the bottom of the feet need not be cut all the way 
across but simply take the corner off. as at (b). which shows 
the inner end of a foot. This taking the corner off saves work, 
gives a firm footing and has all the appearance of being cut 
clear across. 

To mal\e the coat and hat hooks take a piece of the 1 in. 
X 6 in., as at (c), cut a jog about 1 in. deep in the lower inner 
corner for a shoulder, measure 6 in. from the inner end along 
the top edge to (d). Using this as a center, with your com- 
pass mark the half circle (e). which should be 3 in. in diameter; 
4 in. from the inner end of the piece and 3 in. below the top 
edge take another point (f) and describe a circle 3 in. in 
diameter as before. Next bore a 1 in. hole at (d) as near the 
edge of the board as the bit will work and a 1 in. hole at (f). 
With the compass saw saw round the outer circle at (e) until 
you come straight under (d), then saw straight to the top side 
of the hole (f). From the hole (f) slightly above its lower 
side, so as to leave a little hook, saw straight to the outer circle 
and then follow this outer circle until directly under point 
(f), then straight into the shoulder as illustrated. Fit these 
four pieces into mortises in post, fasten with glue and pin as 
illustrated. 



47 



DINING TABLE. 

Dining Table: Lumber required 10 ft. 3 in. x 3 in., 16 
ft. 1 in. X 4 in. and 18 ft. 1 in. x 12 in. For the top join four 
pieces of the 1 in. x 12 in. 4 1-2 ft. long with dowels and glue. 
Allow it to stand at least twelve hours, then cut circle and 
dress off the top with plane. The stretchers (a) are halved 
together where they cross in the center of the table and mor- 
tised into the legs as shown. Stretchers (b) are also halved 
together at center and shaped and mortised as shown. It adds 
to the appearance if j^ou put a pin in the top of these stretchers 
where they cross as shown at (c). This pin may be either 
square or round. The top is fastened with screws from under- 
neath through the stretchers (a). These screws need not, of 
course, be long enough to reach entirely through the stretcher, 
but the heads may be sunk about 2 in., as shown at (d). 



50 



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CHAIR. 



Cliair: Lumber required 12 ft. 1 in. x 4 in., VI ft. 1 in. 
.\ 2 in., 4 ft. 1-2 in. x 2 in., 8 ft. 1 1-2 in. x 1 1-2 in. 

First get out the back ])osts from a piece of 1 in. x 4 in. 
to dimensions given. Cut the mortises for the back slats, seat 
frame and spreaders at positions indicated in sketch. The 
upper rail in the back should be about 8-4 of an inch below 
the top of the side posts and by following' the dimensions given 
in drawing you will get the position of the lower rail. The 
three upright slats in the back should be mortised into the 
top and bottom rail, as indicated by dotted line, but may be 
mortised full thickness and so save cutting a tenon, though 
if you do cut a tenon it perliaps saves more time, as you do not 
have to be so careful in cutting your mortise, Avhich is covered 
l)y the shoulder of the tenon. When you have got out the back 
l)osts, next make tlie front posts, cutting your mortises exactlv 



52 



the same height from the floor as those in the back posts. Then 
get out the side rails and put these pieces together. The 
tenons on the side rail should be as long as possiljle without 
going quite through the leg. as they take all the strain when 
the chair is tipped back. Having glued the two sides of the 
chair together next get out the top and bottom rail of the 
back and fit and glue the three slats into them. Then get 
out the other rails of the back and front and glue them in one 
side of the chair. Then put on the other side of the chair and 
the frame is complete. The seat is what is known as a slip 
seat and is made and upholstered separately, then slipped into 
the frame of the chair. The inner frame for this seat is shown 
at (a) by dotted lines. It is made of the 1 in. x 2 in. stuff 
firmly mortised and glued at the corners and rests on four 
brackets at the corners of the frame, as shown by dotted lines. 
It should be a full l-8th of an inch smaller all around than 
the frame in order to allow it to slip into the frame after the 
leather seat has been tacked on. This leather seat is made by 
tacking strips of strong webbing or canvas about 3 1-2 in. wide 
over the top of this inner frame. Interlace these strips like 
basket work, leaving little or no space between them and 
stretch tightly over the frame. With soft cotton, hair or other 
padding laid evenly over the whole surface, beinsr careful to 
leave no hollows and making the center a little thicker than 
the edges, build up your seat as thick as you want it. Then 
stretch the leather or other covering tightly over both paddin.g 
and frame and tack it firmly on the under side of the frame. 
To cover the webbing and ends of the leather, tack a piece of 
black cloth over the whole bottom, then slip the seat into the 
frame. Some workmen put a pin through the leg and tenon 
Avhere the rails are mortised into the legs. This adds strength, 
but we think is hardly necessary if your tenons fit properly 
and are strongly glued. 




MORRIS CHAIR 



54 




56 



MORRIS CHAIR. 

JMorris Chair: Lumber required 8 ft. 2 in. x 2 in., 14 Ft. 
1 in. X 6 in., 14 ft. 1 in. x 2 in., 5 ft. 1-2 in. x 10 in. 

First get out the posts. Cut the mortises, as indicated, for 
the seat frame. Put the sides together, fastening the arm on 
top of the posts by a screw down through the an. into the top 
of each post. This screw, of course, is to be co vexed by a plug, 
or if you desire mortise the top of the post thn^igh the arm 
making a square tenon mitred to a point on top of the arm. 
Next put in the front and back rail. Screw a strip (a) side 
view on the inside of the side rails and slats (b-b-b) resting 
on these strips to hold the seat cushion. The back is made 
separately and hinged on to the top of the back rail of the 
frame. It rests against a bar which tits into notches in the 
arms, as shown at (c), the bar itself being shown at (d). Note 
that the arms project about 1 in. inside of the posts and there- 
fore are rounded out to the post at the back, where the back 
of the chair comes up between thern. We would suggest your 
having the cushions made at an upholsterer's, as it is difficult 
to make good cushions yourself. In imitation leather these 
will cost about $10.00 and in genuine Spanish leather about 
$20.00. 



57 




LIBRARY TABLE 



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LIBRARY TABLE. 

Library- Table: Lumber required 26 ft. 1 1-4 in. x 12 in., 
10 ft. 1 1-4 in. X 8 in., 20 ft. abont 1 in. or 1 1-4 in, square. 

First select three pieces 5 ft. long of the best of the 11-4 
in. X 12 in. for the top. Join these with dowels and glue. When 
dry fasten four strips on the under side with glue and screws, 
as shown at (a) in side view and bottom view. These strips 
should be set back about 1-2 in. from the edge of the top and 
mitred at the corners. They strengthen the top and give it a 
massive appearance. Next get out the ends. The pieces (b) 
and (e) are exactly the snme. To mark the curve place one 
point of your compass at the corner formed by the dotted liu'^s 
at (d) and with the other point mark the curve, the points 
being 3 1-4 in. apart. The upright pieces (e-e) are mortised 
into the top and bottom pieces and are made as shown at (f). 
The shelf should be made before the table is put together, the 
l>osition for the tenons being marked by placing the end of 
it against the mortises in the uprights after the end is put 
together. The ends are fastened to the top by means of a 
square strip which is screwed to the top and then the ends 
screwed to the strip, as shown at (g) side view and bottom 
view. The tenons in the ends of the shelf should be about 1 1-8 
in. wide and full thickness of the shelf, which will make them 
square. The pins for these tenons are shown at (h) and should 
be about 1-2 in. thick. 



61 



__ 013 971 882 3 ^ 



Special Designs 



Use the following blank pages for pencil sketches and clippings. 



We will furnish working plans, with full instructions for 
any piece of furniture you may desire at 50c. each. Just send 
us a rough sketch or a picture, giving your idea. 



62 



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LIBRARY OF CONGRESS 



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013 971 882 3 



